A variety of Londoners from an elderly priest to jaded bankers have found an unlikely new interest: dancing. Bruce Clark and Lizzy Le Quesne take to the floor ...
Although he lives above a church in a grimy part of north London, and his commitment to the Catholic priesthood is unwavering, Colin MacLean devotes only a small share of his time to celebrating Mass. That is not merely because he is 74, has a pacemaker and can live modestly on a hard-earned ecclesiastical pension. The main reason is that almost every night he is out dancing. He has dazzled critics, delighted choreographers and inspired fellow artists as a ubiquitous figure at the more experimental end of London’s contemporary dance scene.
Observing MacLean at home, it gradually becomes evident that he holds together several universes with a dancer’s grace: he is well-settled in a light frame, gently but totally present, and graceful in every movement. Nor, in his view, is there much distance between liturgy and dance: “After all, dancing probably began in a religious context—as I realised when I first saw liturgical dancing in Ethiopia.”
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